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Back in the beginning there was Gerry Mulligan; or maybe it was Pepper Adams. We're talking baritone saxophone here, of course, especially as a lead instrument. It's still not a horn you often hear out front, regrettably. But with his Summit Records debut, Endangered Species, Dave Schumacher does his part to remedy the situation.
Schmacher, a veteran of more than two decades on the New York jazz scene, has explored the deep, dark end of the baritone's sound, including the grumbles and growls, in his work with Lionel Hampton, Tom Harrell and T.S. Monk. He also does so in the spotlight on this exceptionally fine effort.
The sound is mostly mainstream, but Schumacher proves himself quite the innovator. The disc opens with the "Too Tonal Free! Dumb!," 37 seconds of hip-hop-flavored from-the-gut baritone blowing backed by something called "improvised hip-hop e-drums." I don't know what those areand I sense a contradiction in termsbut it sounds great: grouchy, ursine blowing in front a deep, bone-shaking beat.
The core sound of the disc is the organ trio fronted by Shumacher's baritone saxa more unusual configuration than the baritone out front in whatever the enemble. It works wonderfully, the low notes of the horn punctuating the cool flow of the organ harmonies.
Schumacher waxes poetic on three numbers, quite literally. He recites his poetry, backed by some very hip-sounding tenor sax, and the baritone sax man has the perfect poet's voicea sound not unlike his horna low timbre full of gravel. Another change of pace is Sequito's Too Tonal Free! Drum!," a bubbling cooker featuring Sequito Turner on an array of Latin percussion.
Endangered Species covers a lot of groundAfro-Cuban, spoken word, organ groupbut it maintains a nicely-paced, satisfying cohesion straight through, with the spoken word interludes sounding like a cool as hell beat poetry reading.
Track Listing: Too Tonal Free! Dumb!; Henry's Mad Crazy Blues; 398; Homage to Pharoh; On Being
Judgemental; Sequito's Too Tonal Free!Drum!; 18th Hole; It's the Same Old Dream; Kickin' a
Very Cold Foul; Arch's Nutty Variation; I Thin You Know...; Where's It Goin'?
Personnel: Dave Schumacher: baritone and tenor saxophones, recitations; Neil Caine: bass; Jimmy Cobb:
drums; Robert Trowers: trombone; Rob Bargad: B3; Ned Good: tenor saxophone; Howard
Johnson: baritone saxophone; Jerry Weldon: tenor saxophone; Ruben Rodriquez: bass; Sam
"Seqito" Turner: quinto solo, Iya, cajon, congas, misc. percussion; Gabriel Mcahdo: congas;
Jason Walker: itotele, bell; Pablo Moya: tres; Jay Klum: improvised hip-hop e-drums.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.